故事发生在遥远的1500年前，沃提根（裘德·洛 Jude Law 饰）背叛了自己的哥哥尤瑟王（艾瑞克·巴纳 Eric Bana 饰），导致了人类和巫师之间维系了百年的平衡被打破。幸运的是，尤瑟王唯一的后裔逃过了一劫，这令他的血脉并不至于就此断绝。 一晃眼15年过去，小小的婴儿被取名为亚瑟（查理·汉纳姆 Charlie Hunnam 饰），成长在社会的最底层，并且对自己的身世一无所知。沃提根杀死了哥哥之后独揽大权，施展自己的铁腕统治手段，一时间民不聊生。一次偶然中，亚瑟拔出了一把深深插进了巨石中的宝剑，在传说中，这把剑只有拥有王室血统的人才能够举起。这一消息很快就传到了沃提根的耳中，亚瑟遭到了逮捕。
小柔凭经过多年苦练，自创“舞武功”，被经纪人发掘来参加演出，他们要求小柔打假拳赚取利益，小柔不愿意违背拳击的精神，拒绝了他们的要求，在赛场上最终还是将把泰国女拳王打败。
一位来自洛杉磯的妙龄女子竟愿意付出一百万美金雇用他们当保鑣，又传出风声表示有人要暗杀城市猎人，不知道这名女子究竟是敌是友？
"Three different swordsmen meet each other for their own reasons." Tae Yul, a swordsman in his thirties goes out to find his only daughter after losing one of his eyes. Min Seung Ho, ysgou.cc the Joseon Dynasty's best swordsman chooses an ordinary simple life after perceiving the transient nature of power. Gurutai, the best swordsman in Qing Dynasty aspires to become the best even in the Joseon Dynasty.
这位前《周六夜现场》编剧有股孩子般的迷人风采，同时还有睿智的头脑，他狡猾淘气地探讨了婚姻、育儿经和他与比尔·克林顿的会面。
Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
东北农村马奶子堡的大龄单身男青年彪子一心喜欢青梅竹马的二丫，为了二丫的唱歌梦在一次葬礼上争取表演机会，却被回乡的二龙打断。二龙相中二丫说能带她去做明星，二丫开心跟随，彪子情急之下多番阻拦未果，最终决定进城寻找二丫，却阴差阳错成了一名商场保安，终日捉小偷抓变态，终于在夜总 会重逢二丫。但在随后的珠宝展览会上，两人被卷入一场抢劫案中......
香港2016 邊個話事無懸念，但黑勢力選話事人就峰迴路轉死得人多。行古惑的大佬阿七（杜汶澤）帶着六寶（姜皓文）同撈同煲打天下，食過皇家飯即遇上幫派選龍頭，一輪腥風血雨，神爺（黃秋生）為首的四大叔父欽點阿七與豺狼（王宗堯）二選一，豺狼辣手又有撐腰，阿七眼看只是陪跑，振臂高呼無分大細一人一票。地下選戰似要搞公投，候選人互揭黑材料，連警察亦歸邊，但阿爺永遠可出橫手，黃秋生不會白白一副搶鏡教父look，好戲在後頭。怎樣叫合情合法，他講的才算數。
让我们走入史上最具标志意义、价值数十亿美元的玩具品牌背后，听缔造者介绍这些玩具沉浮兴衰的历程。
扬名外国语学院是一所教学质量和硬件设备都很出众的大学，人才济济。而钢琴王子于波（于波 饰）更是这个学校的佼佼者，优越的家世，帅气的外形，品学兼优的内在，让他成为了学校女生们心中的白马王子。学校最出色的女生小雪（刘颖 饰）和梅保（吴晓敏 饰）都倾心于于波，而家事上的相差甚远让小雪十分自卑，只能默默暗恋着于波。而于波一开始也无以为自己喜欢的是和自己条件相当的梅保。直到叛逆少年杨俊逸（杨俊毅 饰）的到来，打破了于波一直以来在学校的中心地位。黑马王子杨俊逸风平分秋色让于波开始思考以往的生活，而杨俊逸对于小雪的猛烈追求也让于波渐渐的发掘到自己内心对于善良的小雪不一样的情愫…
只要有官家恶人的镖车队通过，就会有三侠客从天而降，镖车会被他们夺走，散之于民间。他们便是名震江湖的“无名三兄弟”。这年，扬州水灾，知府却将百姓生死置之不顾，拿出重金给上级做厚礼，命张仁押送。三兄弟想以接镖的办法将镖银分送给百姓，张已请八方镖局杨老英雄和荷花五妹一起保镖。老三禁不住名利诱惑，背叛了兄长。老大老二与杨老英雄一起，在荷花五妹的帮助下，除掉了这批贪官污吏。五妹与老大老二一起并称“无名三侠客”。